“On the Silver Globe” is the most unique project of famous Polish director Andrzej Żuławski. Filming the movie, which was conducted with a huge flourish, was interrupted in 1977 by the authorities. 11 years later Żuławski finished his movie in Warsaw and Cracow, adding narration to explain missing scenes. Now the film has gotten its second life due to digital reconstruction. We are speaking about the movie, its filmmakers, and its restoration with Małgorzata Grzyb, who took care of color grading.
Digital restoration of a 1977 movie is a huge undertaking. Could you tell us about your responsibilities in this project?
My job was to adjust the colors, which in the case of this film was especially important. Andrzej Jaroszewicz (the cinematographer for this film) used a rather unconventional technique meant to give the viewer the feeling of being on a different planet. His goal was to create warm shadows along with very cold, willow blue lights. My tasks, therefore, included not only standard color grading but also the recreation of this effect with the help of digital tools. Moreover, the first part of the movie has different colors. We also had to strengthen some of the tones – e.g. blood’s hue.
Who else should be involved with this kind of project?
In my opinion, its absolutely crucial to involve the moviemakers in this kind of work - in my case, the cinematographer being able to tell me about his vision for the movie was essential. The director is often invited to this process as he always contributes something of himself.
What was it like to work with cinematographer Andrzej Jaroszewicz? (Jaroszewicz is a very prized creator, he worked on many films including the famous “Quo Vadis”).=
My collaboration with Jaroszewicz was fantastic! Andrzej is an amazing cinematographer, an absolute professional - and he is an exceptionally charming person. When he learned that working with “On the Silver Globe” was one of my professional dreams and that I consider Andrzej Żuławski to be one of the most prominent Polish directors, he was very moved. We immediately established a fantastic relationship that continues today.
You told us that working on “On the Silver Globe” was your dream. Now that it has come true, how would you rate the version of the movie we will see at the festival?
I think we took from the movie everything its makers expected. In comparison to the old version, the difference in quality is huge. Not only can we finally see all the details, but we were also able to address several problems. For example, in one of the scenes a few grains of sand got into the camera lens and scratched the whole negative. I am especially proud that we could realistically show all the colors in the scenography and the costumes. I’m also happy that Mr. Żuławski saw the finished movie a few days before he passed away, and he was very satisfied with the final result. It was very important for us.
Did Żuławski participate in the project? Did you meet him while working on the new version of the film?
Unfortunately I did not have the pleasure to meet Mr Żuławski. He was already quite sick at the time and was not leaving his house. He communicated with us via Daniel Bird, who shared his thoughts with our company. Also, Mr. Jaroszewicz met with Mr. Żuławski and discussed the movie. He really liked the corrected samples he saw. It was important for him that his ideas were presented as truly as possible.
You met a lot of the original version’s creators. Did working with them have impact on your interpretation of the movie?
First of all, I know much more about how it was made – an unfavorable political situation, impediments during filming, an incredible crew who put all of their hearts on that movie. Once it was just science-fiction for me. Now I know that the undertones are much deeper. I understand how much hardship, pain, and determination was required to film this movie.
Suspension of such a large-scale production must have been very painful for its creators. Iwona Bielska (she plays Marta in the film), when asked about this movie, said that it stirs some very tough and emotional moments from her life. I had thought then, that the interruption must have been very dramatic for them.
I know a few stories about the filmmakers stealthily collecting negatives discarded in the trash, and the help of Master, by which I mean Andrzej Wajda, who told Andrzej Żuławski how to get the film to its premier and finish editing. Closing production was extremely painful for the filmmakers and they shared these stories reluctantly, preferring to talk about how they made the film instead of how it was murdered. Because that’s how it looked from their point of view - a crime was committed.
In that case you must know many stories about the creation of the movie…
Yes, I have heard many such stories – particularly about shots in the Gobi Desert. There were problems with food, accommodations, transporting equipment, and hygiene. While shooting in Wieliczka they had to work in very hard conditions – for example, one of the reflectors was crushed by a falling rock… everyone was happy they were not standing in that spot. The battle scene in Krakow was overwhelmed by trash which started to smell very badly after a couple of hours. But the crew had to stay there perhaps several days. Mr Jaroszewicz also recalled that they had two scripts - the official one and the actual. This required a lot of courage.
What can you tell me about movie restoration in Poland? Are there many such projects, are they willingly implemented?
I spent a lot of time participating in workshops, conferences, and meetings regarding restorations, and I can say only one thing: we have the highest standard of restoration quality in Europe. When it comes to worldwide – we are in a dead heat with the best companies in the USA.
In terms of your work – was “On the Silver Globe” your most important project?
I have had a few important projects, a couple of them are already announced. But that doesn’t change the fact that working on “On the Silver Globe” was an amazing distinction and adventure. Also collaborating with Andrzej Wajda was very important to me; I ran into him on six movies. Each time I was impressed by the class and wisdom of the Master. I have also worked on several foreign projects which were important for me.
How exactly did it happen that you started to work in movie reconstruction? It’s a very interesting, but rare occupation!
I finished computer science. Then I spent several years working as a programmer and a graphic designer. I had my own business. I was always attracted to film – I have a brother who is an editor and director. My friends decided to start their own company and they didn’t have a colorist. They gave me a chance, and I am so thankful for that!
Małgorzata, I wish you all the best! I admire your passion for film and thank you for the interesting conversation!
Joanna Derengowska
Katarzyna Puszkiewicz